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Loupedeck CT Review – Could This Be The Best Editing Tool?

28 May

The post Loupedeck CT Review – Could This Be The Best Editing Tool? appeared first on Digital Photography School. It was authored by Carl Spring.

dps-loupedeck-ct-review

If you’ve read my previous review of the Loupedeck+, you’ll know I am a massive fan and it is now a firm part of my editing routine. As I said in that review, it was something that I was honestly wary of before trying it, but something I do edit without now. So when I got the chance to do the new Loupedeck CT review, I jumped at it. 

The Loupedeck CT is a completely new editing station. Loupedeck has marked this as their professional tool, designed to deliver a premium editing experience. Along with the dials and buttons familiar to those who have used the Loupedeck+, the Loupedeck CT features a touchscreen interface system of virtual buttons, that you can fully customize to your editing needs.

Loupedeck CT wrapped in a cable

Compatibility

The CT is compatible with a wide range of software right out of the box. And it has the ability to add even more software via an ever-growing library of custom profiles.

Here is a list of compatible software out of the box (takes deep breath):

  • Abelton live
  • After Effects
  • Audition
  • Capture One
  • Final Cut Pro
  • Adobe Illustrator
  • Adobe Lightroom Classic
  • Adobe Photoshop
  • Premiere Pro
  • System (Windows & Mac)

Profiles exist for many more programs, including Davinci Resolve, Photomechanic, and Logic Pro X, amongst others. This is a serious list of professional software, and the ability to customize the Loupedeck CT means that there is an almost limitless opportunity to create your very own tailored workspace.

A Loupdeck CT with the unit in action for colour grading

Design and build quality

The Loupedeck CT is very different from the Loupdeck+. It is much more compact in its footprint. The size is about the same as two mobile phones placed side by side. This smaller footprint not only makes having the CT on a smaller desk much easier, but it also means it is simple to add to your bag when editing on the road or on location. 

The packaging looks and feels premium. It reminded me of an Apple device in the way that the quality oozes out before you even see the product.

Jet black packaging with an embossed and foiled logo on the side really does make this product feel luxurious. It may sound silly, but when packaging is this good, I feel that it shows the importance of attention to detail to the company.

Once the Loupedeck CT is removed from the packaging and those, oh so satisfying, clear plastic covers get removed, the quality of the Loupedeck CT shines through.

A photo of the box of a Loupedeck CT against a black background

The build quality on this device is excellent, with the device itself comprised of an aluminum top plate (save the virtual buttons workspace) with a solid plastic underside. All buttons and dials are all reassuringly firm, with the dials having a tactile click when turning, whilst the virtual buttons have haptic feedback, which you turn on or off.

The center dial is used as a touch screen interface for some adjustments, and again, it works perfectly. It is responsive and has worked flawlessly during my time with the unit.

This is a very well-made piece of equipment that is another step forward in quality from the already well-made Loupedeck+.

The Loupedeck CT also has a Bluetooth chip, which will eventually, via an update, make the unit connect wirelessly.

It also comes with 8GB of storage, which mounts as an external drive when you connect the Loupedeck CT. This storage allows you to save all settings and preferences within the device. So, when you transport the product, all your settings travel with you. This is great for those that travel regularly or use different computers for different projects.

Ergonomically, the unit is made for one-handed operation. This is not to underestimate the amount of editing this thing can do on its own. Whilst the Loupedeck+ feels like something that is aimed to replace your keyboard, the CT feels like an addition to your keyboard and mouse. It is an incredibly powerful enhancement to your workflow.

A closeup of the Loupedeck showing the different LED button colours.

Buttons on the Loupedeck CT are backlit in a way that aids your use of the device. The buttons’ color shows how it is mapped at a glance. The three colors are green, purple, and blue.

Green buttons are assigned to workspaces (of which you can have multiple per application). The purple buttons are assigned to actions (such as applying a preset or creating a copy of the image, etc.). Finally, the blue buttons are there to take you into page-based layouts. This allows you to create sub-menus within a workspace, such as a page dedicated to your image presets, without the need to change the entire workspace.

Installing the Loupedeck CT

Installing the Loupedeck CT is a simple affair. You just download and install the software from the Loupedeck website, then connect the Loupedeck.

The Loupedeck itself is USB-C, which helps future-proof the product. However, it comes packaged with a USB-C to USB-A braided cable, which will be welcomed by a lot of people. The cable itself is of high quality, reinforcing the attention to detail that Loupedeck has put into this product. 

The step Screen for the Loupdeck CT showing Lightroom Classic Settings
The installation and setup is easy. But you will need to spend some time with the software to set the Loupedeck CT to your preferences.

Learning curve

The learning curve is the part of Loupedeck CT that is the thing that you will find hardest. It’s not that the CT is hard to use, in fact, it is the total opposite of that. It is more about remembering which button is where, how you have your dials set, and moving your hands away from existing workflows.

With the Loupedeck+ everything is set and you quickly become accustomed to where everything is. However, whilst the flexibility of the Loupedeck CT is its strongest feature, it does mean you have a larger learning curve. As an example, when moving from Lightroom to Photoshop, the button layout changes, so it takes more time to become a power user across multiple software. 

The initial setting up of custom workspaces will take time and effort from the user. However, this is the step that is essential for those looking to get the most out of this device.

The software makes it simple to set up, but you need to customize the layout of the deck for your specific editing style. You will then need to do this on a software-by-software basis. This process may take a few hours, but it is so worth it. The profiles supplied by Loupedeck are great and get you started instantly, but every editing workflow is different and the Loupedeck profiles are unlikely to match your specific workflow.

A view of the Loupdeck CT editing console in video editing mode
As with the Loupdeck+, the CT makes using software easier. It does have a learning curve though, one for each software you use it with.

The Loupdeck CT in use

The first thing I noticed about the Loupedeck CT was its software awareness. Switching over to Photoshop from Lightroom, the Loupedeck instantly changed to its Photoshop workspace. There was no lag or waiting. It was ready to go. This smoothness is the same for every software. You can even set it up to control your Spotify, so you can keep your hands on the Loupedeck whilst you decide what music you want to  listen to whilst you edit. 

This key feature makes the Loupedeck CT amazing for those who work in several different pieces of software. It really does make this device a huge step up from the Loupedeck+.

I know when I reviewed the Loupedeck+, I said that video editing wasn’t great. With the CT, it really performs.

Moving to Premiere Pro, you get the tools you use the most right at your fingertips. As someone who isn’t a huge video editor, it makes editing easier for me. I have also been experimenting with Final Cut Pro, and again, the Loupedeck saves me having to search through menus when I am looking for a tool.

I am sure that in the hands of a more capable editor, this tool will be huge in speeding up workflow. For an amateur like me, it makes things easier and encourages me to dig deeper.

This is also true of Adobe Illustrator and Adobe Audition, which I profess to be completely lacking in in-depth knowledge. However, I can see how this, in the right hands, will be incredibly useful.

A person using a Loupedeck to edit colour in a photograph
The centre wheel is one of the highlights of the CT. Being able to use it for things such as colour grading is so intuitive.

Moving on to photography (the reason I am sure most of you are reading this), to sum it up, it is amazing. If the Loupedeck+ is a high-quality, off-the-peg suit, the CT is a custom-tailored suit from Saville Row; every button and dial customized to fit your editing needs. 

In Lightroom Classic, it performs beautifully. Editing is effortless and the Loupedeck makes the whole process quicker, easier, and more tactile. The ability to customize a setup to be exactly how you want is something that gives this an advantage over the Loupedeck+ for those who use more advanced features regularly. This is shown in the ease of adding your own presets to buttons. Simply create the preset, then ask Lightroom Classic to update, and instantly, it is available to add to your layout. 

It is when you move to Photoshop that the Loupedeck CT really shines. The ability to customize your button layout combined with size means using this with a mouse or graphics tablet is a joy. Also, the ability to use the touchscreen center button makes working in color an amazing experience. The Loupedeck CT is a much more enhanced experience than the Loupdeck+ when it comes to Photoshop.

The integration with Adobe products is still deeper than with other software, though. Switching to Capture One Pro, the experience is simply not quite as fluid. Capture One is in Beta mode even though it comes pre-installed. In use, it lacks the level of integration found in Lightroom and can’t offer the same functionality. 

This is due to Loupedeck relying on keyboard shortcuts rather than the software API. Loupedeck has released an enhanced plugin profile, which allows greater integration for Capture One users. This does help, but it relies on you having to set your keyboard to the US setting, which as a UK user, is an annoyance.

I know discussions have taken place with Phase One on fully integrating the Loupedeck CT, and for many professionals who use Capture One, this would be a game-changer. Until that happens, the best way to describe the Capture One experience is good, but not as good as Lightroom.

A closeup of the Loupedeck CT showing Adobe software symbols

What I love

There is a lot to love about this product. The main things for me are:

  • Size
  • Look and build quality
  • Unlimited customization options
  • Multi-software usage 

What could be better 

  • Integration with non-Adobe products
  • No wireless option (although this may be coming)

Is it worth it?

This is the big question. This Loupedeck CT is not cheap. It currently retails at £469.

It warrants that money to those who spend a lot of time editing and those who use a variety of software daily. It is much more suitable for a wider variety of programs than the Loupedeck+. If you use Adobe products, it is pretty much flawless.

However, if you mainly edit in Lightroom, you will possibly be better served with the Loupedeck+. It has all the features you need and comes at a lesser cost. 

The other question is whether it is better to invest in the Loupedeck CT or a graphics tablet. Again, this depends on your usage and editing style. Personally, I would make more use of the Loupedeck CT. However, you may not. 

The Loupedeck CT is aimed at a certain group of people. To those that will get the most out of this product, the £469 price tag is easily justified in the time saving and workflow enhancements the CT will give them. The Loupedeck CT is no mere editing gadget – it is a tool that takes your editing workflow to another level.

I really suggest you try a Loupedeck before dismissing it out of hand. Be warned though, you will probably fall in love.

The post Loupedeck CT Review – Could This Be The Best Editing Tool? appeared first on Digital Photography School. It was authored by Carl Spring.


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Best online printing services

13 May

Note: This is an updated version of an article originally published in Fall 2019. Assessments of print quality and delivery times have been carried over from that article.

Believe it or not, there are still people that like to print out their photos and create photo books to send gifts to family members. There seem to be more options than ever when it comes to online printing services, which makes choosing one a bit overwhelming.

We tested out five popular online printing companies and assessed them based on their ease of service, price, turnaround time and most importantly, print consistency/paper quality.

How we tested

We placed an order for three 8×10 and three 4×6 prints on the same day (October 23rd, 2019) from Snapfish, Amazon Photos*, Shutterfly, MPix, and Printique (formerly known as AdoramaPix). We used the automatic ‘smart crop’ feature on each website when preparing the prints and, when it was possible, requested that the image be printed on Lustre paper. All prints were shipped with the economy shipping option.

Our picks: Printique and MPix


Printique.com
Our top pick
Printique, formerly AdoramaPix, offers slightly higher pricing than the competition, but has the most consistent/pleasing print quality. Print turnaround is fast.


MPix.com
Also good
MPix’s pricing is in the middle of the road, the print quality is consistent – second only to Printique – and print turnaround is also speedy. But you’ll have to pay extra for options like lustre paper.

Now let’s take a closer look at each of these print services including the process of ordering, the speed of delivery, the condition prints arrived and the overall quality of our purchase.

*FULL DISCLOSURE: DPReview.com is a wholly-owned subsidiary of Amazon. We are editorially independent of our parent company.

Articles: Digital Photography Review (dpreview.com)

 
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Review: The DJI Mavic Air 2 is the best all-around drone for most people

01 May

DJI Mavic Air 2
$ 799 ($ 998 with ‘Fly More’ kit) | dji.com

DJI just released the Mavic Air 2, the successor to the original Mavic Air that arrived in 2018. Notably, it’s the first Mavic drone to offer 48MP stills, 8K HyperLapse and 4K/60p video at 120 Mbps. It’s also the first consumer drone equipped with AirSense, DJI’s alert system that receives automatic dependent surveillance-broadcast (ADS-B) signals from nearby manned aircraft and displays their location on the remote control’s screen

Whereas the original Mavic Air comes in a variety of colors and resembles the DJI Spark, the Mavic Air 2 falls between the Mavic Mini and Mavic 2 Pro with regards to appearance, size, performance, and weight. DJI told us it did a lot of testing to determine the best balance between size, portability, and features, and determined that 570g (1.25 lbs.)—the weight of the Mavic Air 2—overwhelmingly felt right.

Arriving at an ideal weight and size apparently wasn’t the only priority for DJI when crafting the Mavic Air 2. Adding features found in more sophisticated drones, including the Inspire 2, to a model 337 grams lighter than the Mavic 2 series, DJI also aimed to make this its smartest drone to date. Did they pull it off? Let’s take a look and find out if the Mavic Air 2 is the right drone for you.

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Key features

  • 570g (1.25 lbs.) total weight
  • 1/2″ 48MP CMOS image sensor
  • 24mm equivalent lens (84º FOV), fixed F2.8 aperture
  • 12MP and 48MP photos
  • 4K/60p and HD/240p video at 120Mbps
  • H.264 and H.265 codecs
  • HDR video and panorama
  • 8K HyperLapse
  • Spotlight 2.0 subject tracking
  • Advanced Pilot Assistance System (APAS) 3.0
  • 34-minute max flight time
  • 68 kph (42 mph) max speed

The compact, feature-packed Mavic Air 2

When folded down, the Mavic Air 2 is 180x97x84 mm and fits in the palm of your hand. This is slightly larger than the original Mavic Air, but it’s still quite a bit smaller than the Mavic 2 Pro and Mavic 2 Zoom models in the line above it.

The Mavic Air 2 is larger than the minuscule Mavic Air, but it still fits in the palm of your hand (mostly).

A more dramatic change is found in the design of the controller; it’s larger and boxier than other remotes in the Mavic series, and is designed to mount a smartphone on top rather than on the bottom, like past Mavic models. The phone is secured with a clamp similar to DJI Phantom series remotes, though it doesn’t extend far enough to hold a tablet. The clamp on the controller is quite difficult to adjust and securing the smartphone is a struggle at times.

Remote pilots can easily toggle between Tripod, Normal, and Sport flight modes as the mode switch is featured front-and-center on the controller. Similar to other Mavic remotes, Return to Home and Power buttons are on the front. The upper-right button allows you to alternate between still photos and video.

The Mavic Air 2’s controller is larger than others in the Mavic series and mounts the smartphone to the top, rather than the bottom, for better visibility. It also works with a case on your phone, unlike previous Mavic controllers.

The upper-left button features a ‘Fn’ button that activates the auxiliary light and additional sensors that assist with several functions, including smoother landing in low-light conditions. There’s also a controller wheel on the top left that tilts the camera up and down. Two joysticks are stored at the bottom and can be screwed on for flying or removed for storage.

When first unboxing the Mavic Air 2, you’ll notice stickers labeled ‘A’ and ‘B’ on the top and bottom arms of the foldable drone. The legs unfold in the same manner as the Mavic 2 and Mini, and the labels are affixed with a beginner pilot in mind. Two bags labeled ‘A’ and ‘B’ contain 3 propellers, 1 extra for each type if a replacement is necessary.

The Mavic Air 2’s controller is designed to mount a smartphone on top rather than the bottom.

Attachment points for the props are color-coded, with a silver ring where the ‘A’ props attach and plain black for the ‘B’ props. It’s a subtle touch to help ensure that all components are properly affixed, and if a propeller is incorrectly placed the drone will not take off. This might confuse consumers new to flying a drone, but it’s a good safety feature. The props have an aerodynamic design that allows for quieter flight, and the Mavic Air 2 is quieter than the Mavic Mini – which is less than half its weight.

The camera sits snugly on a 3-axis gimbal. The sensors at top are part of the obstacle avoidance system.

Photos and video

The camera, which uses a 1/2″ CMOS Quad Bayer sensor, is mounted on a 3-axis stabilized gimbal. It can capture Raw images, JPEG images (at either 12MP or 48MP resolution), as well as Raw + JPEG. In addition to standard movements, the gimbal can tilt upward up to 24º.

The Air 2’s camera boasts a 24mm (equiv.) fixed-aperture F2.8 lens with an 84º FOV. DJI’s Fly More combo includes 3 neutral density filters that appear to twist and snap on and off like those for the Mavic 2 Pro. (Our review unit didn’t include filters so we were unable to test them).

DJI has also added SmartPhoto modes, similar to computational photography techniques used by many smartphones, to improve photo quality. These include:

  • HDR photos: the camera automatically captures 7 different exposures and combines them for greater dynamic image.
  • Hyperlight: images taken in low-light conditions, especially on DJI drones, tend to be grainy and contain noise. Hyperlight takes multiple photos and merges them for a clearer image.
  • Scene recognition: this mode allows the drone to recognize 5 major components of a photo – sunsets, blue skies, grass, snow, and trees. It will analyze these objects and maximize tone, clarity, and colors.

SmartPhotos are captured at a resolution of 12MP

One thing I noticed is that 48MP images are a bit darker relative to Single or SmartPhotos. The latter feature worked quite well when capturing a sunset, and the HDR photos I was able to capture are quite good for a 1/2″ sensor and could be passed off in professional situations.

In Single and 48MP mode, the sky and sun were blown out while the foreground was practically pitch black. SmartPhoto recognized these components. Both photos are unedited.

I was surprised at how well Hyperlight and Scene Recognition worked, as evidenced in the photo above. Panoramas could be improved, as stitching doesn’t always match up, though the app I’m using is still technically in beta and some of these bugs will likely be ironed out with subsequent firmware updates.

The Air 2 is the first drone in the Mavic series that can capture 4K/60p video at 120 Mbps using the H.265 codec. This is impressive for a drone that retails under $ 1,000. Additionally, there’s 4K/30p HDR video, and HD/120p and HD/240p will deliver some serious slow-motion footage — up to 10x on a 24p timeline.

The Mavic Air 2 shoots impressive 4K/60p video, thanks to its support for the H.265 coded at bit rates up to 120 Mbps.

I was quite impressed with the quality of the 4K/60p and even 4K/30p video. However, objects in my slow-motion clips were a bit more blurry than I expected, even at a 240p frame rate. Does the 120 Mbps bit rate make a difference here? Yes, for this particular camera. The quality of video footage I was able to gather in various lighting scenarios is exceptional.

DJI’s normal color profile has been optimized for the ideal amount of saturation and detail, but its D-Cinelike profile is also included for more advanced shooters. 8K HyperLapse video will be available when the Air 2 ships in mid-May, 2020.

These video clips, captured at HD/120p and HD/240p are slowed down 4x and 8x on a 30 fps timeline. At 8x slow motion, movement of the tennis players in the second clip is barely noticeable.

Odds and ends

The Mavic Air 2 comes equipped with obstacle avoidance sensors on the front, rear and bottom of the aircraft. There aren’t any sensors on top. An auxiliary light with additional sensors, which can be activated from the controller, is located on the bottom to assist with landing in challenging conditions such as low-light environments.

DJI claims a maximum 34 minutes of flight time for the Mavic Air 2, a significant increase from the 21-minute life expectancy of the original Air model, though this figure is derived from flying in ideal conditions; DJI states that 33 minutes is more likely when performing a typical flight. I flew in moderate winds and found the figure to be closer to 30 – 31 minutes, on par with the Mavic 2 series.

The bottom of the drone includes obstacle avoidance sensors and an auxiliary light.

A microSD card slot, which supports up to 256GB, is located below the battery portal. 8GB of internal storage is provided as backup should the memory card become full (or if you forget to bring a card along). Photos or video captured internally can be accessed through the micro USB portal on the opposite side of the card slot. Two cables that connect to a laptop are included with the Mavic Air 2.

This model is also equipped with DJI’s Geo system, which prevents drones from entering prohibited areas including airports. For those unfamiliar with drone laws, this feature will come in handy. Geo zones, as well as ADS-B, can be deactivated in the Fly app.

Articles: Digital Photography Review (dpreview.com)

 
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Is This the Best Camera Gear of 2020? Tipa Awards Results

21 Apr

The post Is This the Best Camera Gear of 2020? Tipa Awards Results appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

tipa award results 2020

The Technical Image Press Association (TIPA) has just announced its 2020 TIPA World Award results, which seeks to recognize the best photography-related gear of 2020.

TIPA announces its winners

The winners include a mix of cameras, lenses, post-processing software, tripods, flashes, and more, all honored in categories tailored to 2020 photography interests and needs.

Awards were determined by representatives of TIPA’s member magazines. Note that TIPA magazines are a diverse collection of imaging-related publications from across the globe, including:

  • Camera Australia
  • Practical Photography
  • Luminous Landscapes
  • Photo Life
The Fujifilm X100V

While TIPA awards are normally determined by an in-person body of magazine representatives, this year’s judging process proceeded differently (due to COVID-19 concerns). Instead of taking place in a Las Vegas assembly, voting was done online.

Canon 85mm f/1.2

The TIPA chairperson explained:

We believe that now more than ever our support of the industry and the people who work so hard, be it in production, distribution, or marketing, deserve credit and our thanks and appreciation for their efforts to continue to develop new and exciting products and grow into the future. Of course, while the process of nomination and selection of award winners had to adapt to the circumstances, we maintained our usual rigorous standards in our considerations.

Read on to discover TIPA’s choices for the best camera gear of 2020.

Canon 90D DSLR

You’ll probably notice quite a few familiar products. But you may also notice some new ones worth checking out.

And then, when you’re done, leave your thoughts in the comments section. Let us know how you feel about the winners!

Do you agree? Disagree? Are there any cameras, lenses, or additional gear that you’d like to have seen on the list? And what is your favorite camera, lens, photo editing software, and accessory of 2020?

2020 TIPA World Awards winners

Cameras

Sony a7R IV

Best Full Frame Professional Camera: The Sony a7R IV

Best Full Frame Camera Expert: The Sigma fp

Best APS-C Camera Professional: The Fujifilm X-Pro3

Best APS-C Camera Expert: The Sony a6600

Nikon Z50

Best APS-C Camera Advanced: The Nikon Z50

Best DSLR Professional Camera: The Canon EOS 1D X Mark III

Nikon D780

Best DSLR Expert Camera: The Nikon D780

Best DSLR Advanced Camera: The Canon EOS 90D

Best Full Frame Photo/Video Camera: The Panasonic Lumix DC-S1H

Best Medium Format Camera: The Fujifilm GFX100

Best Expert Compact Camera: The Sony RX100 VII

Canon G7 X Mark III

Best Vlogging Camera: The Canon PowerShot G7 X Mark III

Fujifilm X100V

Best Premium Compact Camera: The Fujifilm X100V

Best Photo Smartphone: Huawei P40 Series

Lenses

Best DSLR Prime Lens: Tamron SP 35mm f/1.4 Di USD

Best DSLR Macro Lens: Laowa 100mm f/2.8 2x Ultra Macro APO

Best DSLR Wide Angle Zoom Lens: Tokina 11-16mm f/2.8 CF

Best DSLR Professional Lens: Nikkor 120-300mm f/2.8E VR

Best Micro Four Thirds Lens: Panasonic Leica 10-25mm f/1.7

Nikkor Z 58mm f/0.95 S Noct

Best Mirrorless Prime Standard Lens: Nikkor Z 58mm f/0.95 S Noct

Best Mirrorless Prime Wide Angle Lens: Samyang AF 14mm f/2.8 RF

Best Mirrorless Wide Angle Zoom Lens: Sigma 14-24mm f/2.8 DG DN Art

Canon RF 70-200mm

Best Mirrorless Telephoto Zoom Lens: Canon RF 70-200mm f/2.8L IS USM

Best Mirrorless Standard Zoom Lens: Sigma 24-70mm f/2.8 DG DN Art

Canon RF 85mm f/1.2L

Best Professional Portrait Lens: Canon RF 85mm f/1.2L USM

Accessories and software

DxO PhotoLab 3

Best Imaging Software: DxO PhotoLab 3

Best Inkjet Photo Paper: Hahnemuhle Natural Line

Best Portable Photo Printer: Fujifilm Instax Mini Link

Best Imaging Storage Solution: SanDisk Extreme Pro CFexpress 2.0

Best Portable Flash: Nissin MG80 Pro

Best Professional LED Light: ARRI Orbiter

Best Tripod Head: Gitzo 3-Way

Best Travel Tripod: Manfrotto BeFree GT XPRO

Best Professional Photo Monitor: BenQ PhotoVue SW321C

Best Professional Video Monitor: LG UltraWide 38WN95C

Best Mobile Accessory: Godox R1

Best Color Management Solution: X-Rite i1Display Studio/i1Display Pro Plus

WhiteWall

Best Photo Lab: WhiteWall Masterprint

Best Photo Service: CEWE Photobook

Best Photo Innovation: Sony Real-Time Tracking technology

The post Is This the Best Camera Gear of 2020? Tipa Awards Results appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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How to Choose the Best Lens for Wildlife Photography

20 Apr

The post How to Choose the Best Lens for Wildlife Photography appeared first on Digital Photography School. It was authored by Shreyas Yadav.

How to Choose the Best Lens for Wildlife Photography Featured image

Before you select a lens for wildlife photography, first ask yourself – what are you passionate about photographing? Do you love exploring the forest and chasing big cats on a wildlife safari? Perhaps you love photographing birds flying around? Maybe you love to explore reptiles and amphibians?

After you have figured out what you are passionate about, think about how many of those subjects are available and whether you can access that location. For example, if I am passionate about exploring forests full of tigers, leopards, and elephants, I have to see if those subjects – and the location – are accessible to me at least once a month.

Alternatively, if I am passionate about colorful birds, I have to check if I can access those locations at least once a month.

If you can access the location and subject of your choice, you are lucky. It will make your lens selection an easy decision. Since you will be using that lens every month, it makes complete sense to own the glass.

Baya Weaver Bird in flight
Homecoming : Baya Weaver Bird in Flight

On the other hand, if you love birds and African Big five. If you live away from Africa, then it is better to buy a lens that is perfect for birds – which you are more likely to shoot every weekend. Whereas, you may only visit Africa once every three years. Hence, think about it before you purchase a lens.

The most crucial factor is the budget. How much cash you can allocate to the lens. Keep aside some money for the camera body, accessories, and most importantly for travel, as wildlife photography involves a considerable amount of travel. While travel is sometimes hectic and a bit expensive, it is an awesome experience!

Key factors to consider while selecting the lens for wildlife photography

To summarise, below are the key factors to consider while selecting the lens for wildlife photography:

  1. Personal liking
  2. Subject availability
  3. Location accessibility
  4. Budget

Technical factors to consider when choosing the best lens for wildlife photography

Let’s start with the technical factors you should consider while choosing the best lens for wildlife photography.

  1. Focal length range
  2. Maximum aperture
  3. Focusing speed
  4. Controls and ergonomics
  5. Compatibility with Teleconverters
  6. Weather sealing
  7. Low light performance
Tiger in a river
The King – Power, Dominance, Calmness and Royal presence

1. Focal length range

The range of focal lengths is essential to photographing wildlife images. You need longer focal lengths to photograph birds and mammals. For photographing birds, you need a focal length of at least 400 mm. And it can go up to 600 or even 800 mm.

If you are photographing mammals, the required focal length is from 200mm up to 600 mm. The longer the focal length, the better reach you will have.

However, there are exceptions in some of the cases.

When you want to show wildlife in its habitat or if you can approach the wildlife at a close distance, you can use shorter focal lengths, such as 12mm or 14mm.

But in most of the wildlife cases, there will be a distance between you and the wildlife you photograph. Hence longer focal lengths are useful.

2. Maximum aperture

Lens aperture determines how much light passes through the lens to the camera’s sensor. Larger apertures help to capture maximum light.

Large aperture lenses focus faster than smaller aperture lenses too.

In wildlife photography, the action is fast, so to capture fast action, you need a quicker focusing lens. Hence, it’s preferable to use a lens with a large aperture in Wildlife photography.

The maximum aperture can be f/2.8 and f/4. The lenses with a fast aperture (smaller number) can focus fast.

Image quality, depth of field, and sharpness are superb for lenses with a faster aperture.

Select the lens with an aperture value of f/2.8 or f/4. The smallest aperture you can go up to is f/5.6. Try not to choose lenses slower than f/5.6.

How to Choose the Best Lens for Wildlife Photography - Sony FE 200–600 mm F5.6–6.3 G OSS
Sony FE 200–600 mm F5.6–6.3 G OSS

3. Focusing speed

Focusing speed is critical for wildlife and bird photography.

The best lens should focus fast and accurately and should be able to focus precisely – even in the low light as well.

Focusing speed is mainly dependent on the maximum aperture and lens construction.

While looking at the lens construction, we will not be able to figure out the focusing speed. But, based on the maximum aperture number, we can get an idea of lens focusing speed.

A lens with a maximum aperture of f/2.8 or f/4 focuses fast and accurate.

In general, a fixed focal length lens performs better than a zoom lens because of less moving glass elements. (There are exceptions. Some of the zoom lenses focus fast; we will discuss it later in this article)

4. Controls and ergonomics

Controls and ergonomics determine how you can handle and use the lens.

Lens zooming and manual focus rings should be smooth and accurate.

The lens should zoom with optimized ring rotation, so you don’t have to rotate the zoom ring by 360 degrees.

Autofocus and manual override (A/M or M/A) is a great feature. It means you can autofocus the lens. Further, to fine-tune the focus, you can manually focus it.

Vibration reduction/image stabilization helps to compensate for any camera movement. This feature helps to capture a sharp image at low shutter speed.

The weight of the lens is a significant factor in choosing the lens too. Less weight is always preferred because you can carry the lens while hiking or traveling. Similarly, smaller size lenses are right for traveling and packing.

Most of the wildlife and bird photography lenses are a bit heavy and bigger. Of course, there are exceptions. Some of the lenses are equally great in terms of image quality at a much lower weight and size. But the price of those lenses is higher. We will evaluate those lenses as well in the next sections.

NIKKOR AF-S 80-400mm f/4.5-5.6 G ED VR
NIKKOR AF-S 80-400mm f/4.5-5.6 G ED VR

5. Compatibility with teleconverters

As you will be using the lens for many years, compatibility with a teleconverter is essential.
The lens should be compatible (in terms of Autofocus performance such as accuracy and speed) with the teleconverter.

Teleconverters help to expand the range of the lens. For example, a 70-200mm f/2.8 lens with a 2X converter will be 140-400mm f/5.6. It doubles the focal range of the lens and reduces the maximum aperture of the lens from f/2.8 to f/5.6.

For any lens brand, generally, there are 1.4X, 1.7X, and 2X teleconverters. If the lens is compatible with all 3 teleconverters, it’s excellent! But at least it should be compatible with either one of the teleconverters.

If your lens is compatible with teleconverters, you will be able to extend the focal length of the lens.

6. Weather sealing

The right lens for wildlife photography should be able to take beatings from outdoor weather.

The lens should withstand against rain drizzle, temperature extremes (both hot and cold temperatures), and dust.

Weather sealing should be good enough to stop raindrops and dust from entering into the lens.

The weather sealing of the lens depends on lens construction, protruding lens elements, type of seals at zoom/focus ring, and at the camera mount.

With that said, while photographing outdoors, take care. It is always better to clean the lens after each photography trip. Cleaning of lens contacts, lens mounts, front elements, zoom/focusing rings, and protruding parts is good enough.

Black and white photo of an elephant walking
A graceful walk of a Tusker

7. Low light performance

Low light focusing performance is dependent on the lens and camera as well. Both camera and lens play an essential role in low light focusing.

Most of the wildlife action happens during early dawn and late dusk. During this edge of day, light conditions are poor.

Good lenses should be fast and accurate enough to focus in low light.

A lens’s low light performance depends on the maximum aperture and moving glass elements. Larger apertures of f/2.8 or f/4 and less moving glass elements mean the lens focuses fast. (Assuming your camera is having excellent low light autofocus performance.)

Now you are aware of what technical factors to look for, let’s learn what types of lenses are available for Wildlife photography.

Different lens types for wildlife photography

  • Prime Lenses ( Fixed focal length )
  • Telephoto zoom lens
  • Micro 4/3rd format lens
  • Micro Lens
3 oriental white eye birds sitting on a branch
Oriental White Eye Birds

1. Prime lenses

A prime lens has a fixed focal length.

Prime lenses are best for birds and wildlife at a distance.

Because of fewer moving glass elements and maximum aperture, autofocus performance is excellent.

Image quality, sharpness, low light capability, and focus response is excellent for a prime lens. Prime lenses are compatible with teleconverters too.

One caveat is, if the wildlife approaches closer to you, you cannot zoom out and take the picture. Instead, you are stuck with a fixed focal length. In this case, you may want to take a portrait/close up image.

Compositional flexibility is limited when using prime lenses.

Prime lenses are higher in price and can be a bit heavier as compared to zoom lenses.

However, buying the best prime lens is the most significant investment you can make in your photography. These lenses last more than a decade and keep making beautiful images.

Out of your budget, try to spend the maximum amount of money on buying the best prime lens.

Some of the best prime lenses are:

  • Nikon AF-S 300mm f/4E PF ED VR
  • Nikon AF-S 300mm f/2.8G ED VR II
  • Nikon AF-S 500mm f/4E FL ED VR
  • Nikon AF-S 600mm f/4E FL ED VR
  • Sony FE 600mm F4 GM OSS
  • Canon EF300mm f/4L IS USM
  • Canon EF300mm f/2.8L IS II USM
  • Canon EF500mm f/4L IS II USM
  • Canon EF600mm f/4L IS II USM
  • Canon EF400mm f/5.6L USM
How to Choose the Best Lens for Wildlife Photography - Red munia sitting on grass
Red Munia

2. Telephoto zoom lens

A telephoto zoom lens is a variable focal length lens. You can change the focal length of the lens by rotating the zoom ring on the lens.

Telephoto zoom lenses are best for birds and wildlife at long and short distances.

As compared to prime lenses (fixed focal length), Zoom lenses have more moving glass elements. This affects the focus performance.

However, there are exceptions.

Some of the Telephoto zoom lenses are as fast as prime lenses. We will see which of those lenses are in this article.

Telephoto zoom lenses are compatible with teleconverters. However, teleconverter compatibility is limited. Telephoto zoom lenses are fully compatible with some of the teleconverters, while only partially compatible with other teleconverters.

When choosing a telephoto zoom lens, check the teleconverter compatibility as well.

The main advantage of a zoom lens over a prime lens is variable focal length. Variable focal length helps in photographing farther as well as closer objects. Zoom lenses give freedom in image composition as well.

The size and weight of zoom lenses are relatively manageable as compared to that of prime lenses. Most of the zoom lenses are hand-holdable and travel-friendly.

While selecting the telephoto zoom lens, look out for aperture numbers such as f/2.8 and f/4 (for particular lens you can go up to f/5.6). Try to get the largest possible aperture for the telephoto zoom lens. This helps in autofocus performance, low light capability, Image sharpness, and smooth bokeh.

Some of the best Telephoto zoom lenses are:

  • NIKKOR AF-S 70-300mm f/4.5-5.6G ED VR
  • NIKKOR AF-S 70-200mm f/2.8E FL ED VR
  • NIKKOR AF-S 80-400mm f/4.5-5.6 G ED VR
  • NIKKOR AF-S 70-200mm f/2.8G ED VR II
  • NIKKOR AF-S 200-500mm f/5.6E ED VR
  • NIKKOR AF-S 200-400mm f/4G ED VR II
  • Sony FE 200–600 mm F5.6–6.3 G OSS
  • Super telephoto Zoom 100-400mm G Master lens
  • Canon EF100-400mm f/4.5-5.6L IS II USM
  • Canon EF70-200mm f/2.8L IS III USM
How to Choose the Best Lens for Wildlife Photography - Green vine snake
Raindrops and Green Vine Snake

3. Micro Lens

Micro-lenses are a prime lens (fixed focal length).

If insects, snakes, butterflies, or small creatures are your interest, then micro lenses are for you.

The most popular lenses among the photographers are 105mm f/2.8, 180mm f/2.8 and 90mm f/2.8. Among all 105mm f/2.8 lenses are the right balance of image quality, range, size, weight, and price.

Here are recommended micro-lenses from popular brands:

  • Nikon 105mm f/2.8
  • Canon 100mm f/2.8

There are additional micro-lenses from third party brands such as Sigma and Tamron.

How to Choose the Best Lens for Wildlife Photography - sunbird in flight
Sunbird in Flight

4. Micro 4/3rd Format lens

Micro 4/3rd format lenses are a bit different. The cameras with the Micro 4/3rd system have a smaller sensor size.

For example, a full-frame 100mm lens will become 150mm (1.5 X) on the crop sensor (small camera sensor body). Whereas on the micro 4/3rd system cameras, a 100mm lens will become 200mm (2 X).

Micro 4/3rd systems have their benefits such as size, compactness, weather sealing, and convenience. With a small sensor, as compared to a full-frame sensor, there is a compromise in terms of image quality and dynamic range. Lenses for the Micro 4/3rd system are built well. The quality of the glass, weather sealing, and ergonomics are excellent too.

In wildlife photography, weather conditions will be hostile. You have to hike along with your gear. Size and weather resistance of the equipment matters.

Hence specifically for wildlife, photography Micro 4/3rds is an excellent and unique option to consider.

Some of the best micro 4/3rds lenses for wildlife photography are:

  • Olympus M.ZUIKO DIGITAL ED 40-150mm F2.8 PRO
  • Olympus M.ZUIKO DIGITAL ED 300mm F4.0 IS PRO
How to Choose the Best Lens for Wildlife Photography - elephant in the wilderness
Elephant Scape

Process for selecting the best lens for wildlife photography

As you are now aware of what type of lenses are available for wildlife photography, let’s look into the process of lens selection.

These steps will help you to select the best lens for wildlife photography.

Identify your photography requirement

Find out what your area of interest is and identify what you want to photograph. You may want to photograph birds or big animals or small creatures. The key is to find out your objects of interest.

Evaluate the lens

Once you have found out what do you love photographing the most, select the lens accordingly. For example, if you love photographing birds, then select a telephoto (prime lens). If you like photographing butterflies, insects, and snakes, then select a micro-lens.

Rent the lens

Before you buy the lens, rent it. Also, try renting similar options in the lens. For example, if you are looking for a telephoto (prime) lens for birds, then rent and use the lenses such as 600mm f/4, 500mm f/4, and 400mm f/2.8 and see which lens you find comfortable while using.

If you want to photograph wild animals, try using lenses such as 70-200 f/2.8, 300mm f/4, and 200-500 f/5.6. By using the lens, you will be able to evaluate it better.

Buy the lens

Once you have evaluated and tried the lens, it is time to buy the lens. Generally, there is no discount for good lenses. Also, it is better to buy the new lens as you are going to use the lens for a long time (likely, more than a decade). Once you buy the lens, make sure all the functions work correctly.

Make sure you have a lens warranty in place, and you are good to go!

Now it’s your turn

What is your favorite object? Which lens have you selected?

If you have any questions regarding lens selection for wildlife photography, please let us know in the comments below.

The post How to Choose the Best Lens for Wildlife Photography appeared first on Digital Photography School. It was authored by Shreyas Yadav.


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These are the best portrait lenses for Sony mirrorless shooters

05 Apr

Our guide to the best lenses for Sony APS-C and full-frame mirrorless cameras has been updated to include recommendations for portrait shooters.

Articles: Digital Photography Review (dpreview.com)

 
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These are the best lenses for Nikon DSLR portrait shooters

05 Apr

We think that the Nikon 50mm F1.4G and 85mm F1.4G are great all-around picks for APS-C and full-frame Nikon DSLR portrait shooters, respectively. Read on for more recommendations and all of our top lens picks for these systems.

Articles: Digital Photography Review (dpreview.com)

 
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These are the best portrait lenses for Canon DSLR shooters

02 Apr

We think the Canon EF 50mm F1.8 STM and Sigma 85mm F1.4 Art are the best all-around picks for APS-C and full-frame Canon DSLRs, respectively, but we’ve got more recommendations to meet a range of budgets.

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9 Best Laptops for Photography

31 Mar

You enjoy photographing in the field, whether its landscapes or events.  When it comes to viewing your captured images, polishing them up and showing to people, you need a laptop to make this possible, especially when you are far from home or office.  But you are not a techie and Cores make your head spin! How do you decide on Continue Reading

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Olympus TG-6 review: the best waterproof camera on the market

20 Mar

Introduction

The Olympus Tough TG-6 is the company’s sixth-generation premium underwater camera. It features a 12 Megapixel sensor, 4X optical zoom lens, numerous sensors and, of course, serious protection against the elements.

Key specifications

  • 12MP, 1/2.3″ BSI-CMOS sensor
  • 25-100mm equivalent F2.0-4.9 stabilized lens
  • Waterproof to 15m (45ft), shockproof from 2.1m (7ft), crushproof to 100kgf (220lbf), freezeproof to -10°C (14°F), dustproof
  • 3″, 1.04M-dot display (non-touch)
  • Raw support
  • 1cm (0.4″) minimum focusing distance
  • 20 fps burst shooting
  • Pro Capture mode saves photos before and after the shutter release is pressed, to help you capture the right moment
  • 4K/30p video
  • Built-in GPS, altimeter, compass, thermometer and accelerometer
  • Optional conversion lenses and flash accessories

The TG-6 comes in black or red and is priced at $ 379.

What is it?

The TG-6 is a pocketable, ultra-rugged camera with a blend of features that will appeal to many different audiences:

  • Everyday shooters and parents who want something that can be dropped or get wet, unlike their smartphone
  • Serious underwater photographers who want to dive deeper and use off-camera flashes
  • Hikers and other outdoorsy folks who want to track their progress and incorporate things like location and altitude into the metadata of their photos

For those in the first group, the TG-6’s auto mode can handle just about every situation, and its numerous scene modes are well organized. Going underwater? Just choose the ‘fish’ spot on the mode dial, where you’ll find five choices that match the situation you’re in. It is a shame that Olympus did not create a simplified version of its menu system for more novice users, who are likely to be overwhelmed by the options and organization.

Out of camera JPEG. ISO 100 | 1/800 sec | F5 | 58mm equiv.
Photo by Jeff Keller

For the enthusiast, the TG-6 offers some manual controls, but not the full suite you’d expect on a higher-end camera. While you can adjust the aperture, there are only three choices at any one time. This is also why there aren’t shutter priority or manual exposure modes on the camera. It’s worth mentioning that you cannot adjust exposure compensation in auto mode, so you’ll need to switch to program or aperture priority mode to do so.

Olympus offers a huge number of accessories, including an underwater housing that lets the camera go 15 meters (50 feet) deeper, wide-angle and fisheye conversion lenses, the ability to wirelessly fire Olympus’s flashes (which need to be in housings too, of course) and much more.

Conversion lenses, lens caps and a ring flash adapter for the TG-6

Hikers and other adventurers can take advantage of the camera’s sensors and tracking abilities so they can see exactly where they were on their journey when they took a photo. The environmental sensors include a GPS, altimeter/depth gauge, compass, accelerometer and thermometer (which wasn’t close to accurate on the camera we tested, but the other sensors were fine). When you’re out and about, pressing the ‘info’ button displays all of the data the camera is capturing.

Pressing the Info button when the camera is off lets you see all of the data the TG’s environmental sensors are picking up.

Lastly, the TG-6’s host of close-up features not only allow for capturing subjects 1cm (0.4″) away: the ‘digital microscope’ mode lets you zoom in up to four times more, though with a reduction in image quality. Olympus sells a ring light and flash diffuser to add flexibility to your macro photography.

Out of camera JPEG. ISO 160 | 1/125 sec | F2.3 | 30mm equiv.
Photo by Jeff Keller

What’s new?

These days, updates to compact cameras are very minor, and that includes the TG-6. Very little has changed compared to the TG-5, with the main things being a higher resolution LCD, additional macro and underwater modes, and focus bracketing. Improvements have also been made to reduce ghosting and flare.

The higher resolution LCD is certainly nice, though Olympus did not address the most frustrating thing about the screen on the TG-5: it scratches way too easily. Buying a screen protector is highly recommended. It’s worth mentioning that the screen isn’t touch-enabled, but keep in mind this feature is all-but-useless when screens (or your hands) get wet.

A TG-6 with a tempered glass screen protector

Where the TG-5 only had one underwater white balance mode, the TG-6 has three, for shallow, mid-depth and deep water. Two additional underwater shooting modes were added: macro and microscope.

What stands out?

What really separates the TG-6 from its peers is its ability to capture data from its environmental sensors and attach it to photos, as described earlier in this review. Some other rugged cameras have some sensors, but nobody does it better than Olympus. Having GPS data in your photos lets you search for photos by location in software like Lightroom and Apple Photos.

Having the tracking feature on (which is how you can create the map like the one below) does drain the battery, which is why I kept the camera plugged into a car charger while driving around.

A map created with the OI Track app shows you where you took each photo.

The TG-6 is a bit of an outlier in that Olympus continues to use a 12 Megapixel sensor, rather than the 16 or 20 Megapixel sensors found on its competitors. On a chip this small, the TG-6’s lower pixel count might help its performance at higher ISOs, but the much bigger benefit is its lens’ ability to go to F2.0 at its widest-angle setting, letting in twice as much light as its closest rivals will. And, for most purposes, a 12 Megapixel sensor is more than enough.

The build quality of the TG-6 is still the best-in-class. Its chassis is solid enough that you’d think it could chop wood, though that would probably void the warranty. Both of the doors (one for the I/O ports, the other for the battery and memory card) have dual locks, a feature which has disappeared from its competitors. The camera’s dials are pretty plasticky though, and the buttons are mushy (the movie recording button is the worst offender), but this is likely due to the extensive sealing.

Note the dual locks on the battery/memory card compartment door. The same as true for the door that protects the USB and HDMI ports.

While the TG-6’s rugged specs are very impressive, when it comes to going underwater, several of its peers can go quite a bit deeper, with the Nikon Coolpix W300 (arguably the TG-6’s closest competitor) able to function down to 30 meters (100 feet). If you’re a snorkeler, that’s no big deal, but for scuba it’s a very desirable trait.

While the lens on the camera doesn’t have as much telephoto power as many of its peers (many of which reach 140mm equivalent at their long end), it is the widest available, which is really helpful when underwater. The lens is also the fastest in this class, which will keep noise levels down as light levels drop.

The TG-6 gets mixed reviews in terms of usability. As mentioned earlier, its auto mode works well and shortcut menu is fairly sensible, but the main menu is far too confusing. The lack of exposure compensation in the auto and scene modes is also a bummer, since it’s a commonly used, easy-to-understand feature.

The camera’s 25-point autofocus system works well, both above and below sea level. It can detect faces, though the subject needs to be looking straight at the camera. While the TG-6 has an AF tracking mode, it takes too many button presses to activate, and we recommend avoiding it.

One feature that no other rugged camera on the market has is Raw support. While the small sensor doesn’t have the dynamic range of enthusiast cameras, you can still brighten shadows with decent results, fine-tune white balance (critical for underwater shooting), and get more detail than JPEGs provide. While the TG-6 has in-camera Raw conversion, it’s poorly implemented. You have to set the camera’s shooting settings to what you want and then apply the edits to the Raw file, as opposed to adjusting them for each Raw image individually.

Heavy noise reduction in the TG-6’s JPEGs obliterates fine detail, like the trees and grass in this photo. If you’re comfortable with editing Raw files, you can get some of that detail back.

Download out-of-camera JPEG | Download converted Raw file

While the image quality from the TG-6 is fine, modern smartphones will surpass it in most situations, though once downsized to social media resolutions, it’s less noticeable. But, remember, your phone isn’t exactly rugged. While out-of-camera JPEGs have pleasant colors*, the lens just isn’t very sharp and too much noise reduction is applied. Turning down the ‘noise filter’ option helps a bit, but if you’re up to the challenge of processing the results, shooting Raw is the way to get the most out of the TG-6.

* Tip: Try to shoot in ‘P’ mode if you can, as the ‘i-Enhance’ color profile in Auto mode is over-the-top, to say the least.

We found the TG’s white balance was accurate, even underwater, which is always challenging. The camera tends to overexpose, so you may find yourself needing to use exposure compensation fairly often. As mentioned earlier, you can’t use exposure compensation in most modes (including Auto), so you’ll need to P or A mode to adjust it.

Out of camera JPEG. ISO 200 | 1/30 sec | F2 | 25mm equiv.
Photo by Dan Bracaglia

The camera’s 4K video is fine though, again, no better than that from a smartphone. The ‘movie IS’ does a good job of stabilizing things, though there is a noticeable crop when it’s on. Audio levels are adjustable, and a wind filter is also available. The TG-6 can shoot (silent) Full HD video at 120 fps, with even faster frame rates available if you drop the resolution.

The TG-6 uses the Li-92B lithium-ion battery, which turns in a respectable 340 shots per charge (CIPA rated), though you’ll probably do even better than that in most situations. That’s assuming you’re not using the GPS, though, so a spare battery is a must if you’re using it or the logging function. The camera can be charged over its USB 2.0 connector. There’s no external charger included in the box, but Olympus would be happy to sell you one for a whopping $ 70.

Despite all of its cool tracking features, the TG-6’s wireless implementation isn’t great. There’s no Bluetooth, so you have to put the camera into a smartphone connection mode and then manually find the network it’s created on your phone (a QR code is used for initial set-up, but that’s it). Olympus’s OI Share app is simple to use, though not always reliable. To get tracking data and put it on a map, you must use another app, OI Track, which downloads log files that sync with up with photos that you’ve already downloaded via OI Share.

Conclusion

Out of camera JPEG. ISO 100 | 1/80 sec | F2 | 25mm equiv.
Photo by Jeff Keller

The Olympus Tough TG-6 continues to be the top waterproof camera on the market. We like its ruggedness, expandability, tracking features, and Raw support. Its lens is faster at the wide-angle end than its peers, and its macro capabilities are top-notch. Battery life is very good, assuming that you’re not hitting the GPS too hard.

The TG-6’s main negative is pretty much the same as for any small-sensor compact camera these days: image quality just isn’t that great, especially compared to best-in-class smartphones that seamlessly combine multiple images to boost image quality. Having Raw support gives TG-6 users more flexibility to squeeze the most out of the camera, but you can only do so much with a 1/2.3″ sensor. Compared to its peers, we wish the TG-6 had a bit more range at its telephoto end (but you are getting F2 at the wide end in exchange), and the lack of Bluetooth is disappointing.

There have been several references to smartphones throughout this review, and to be clear, the TG-6 isn’t meant to replace one. Rather, it’s designed to withstand exactly what you don’t want happening to your smartphone: being dropped, stepped on, or dunked in water.

Out of camera JPEG. ISO 100 | 1/320 sec | F9 | 28mm equiv.
Photo by Jeff Keller

In the course of writing this review I took the TG-6 to Olympic National Park in Washington State. With its combination of rock-strewn beaches, temperate rainforests and snowy mountain peaks, the park is exactly the kind of place where you want to stuff your phone in a pocket, get out the TG-6, and not worry about what it may smash into. And being able to see where you took a photo isn’t just interesting: it makes organizing photos easier, as well.

Sample gallery

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Scoring

Olympus Tough TG-6
Category: Waterproof / Rugged Compact Camera
Build quality
Ergonomics & handling
Features
Exposure and focus accuracy
Image quality (raw)
Image quality (jpeg)
Flash performance
Low light / high ISO performance
Optics
Performance (speed)
Movie / video mode
Connectivity
Value
PoorExcellent
Conclusion
The Olympus Tough TG-6 is a well-designed rugged camera with a broad feature set, good image quality for its class and a host of environment sensors that store everything from location to temperature in your photos.

Good for
Divers, hikers, parents who don't want their smartphone broken

Not so good for
Those who desire smartphone (or better) image quality
76%
Overall score

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Articles: Digital Photography Review (dpreview.com)

 
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